Maximiliano Ruelas

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	<title>Maximiliano Ruelas</title>
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	<pubDate>Thu, 23 Jul 2026 22:48:53 +0000</pubDate>
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		<pubDate>Wed, 07 Jun 2023 20:49:56 +0000</pubDate>

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		<pubDate>Wed, 07 Jun 2023 20:49:56 +0000</pubDate>

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		<pubDate>Wed, 07 Jun 2023 20:49:57 +0000</pubDate>

		<dc:creator>Maximiliano Ruelas</dc:creator>

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&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#60;img width="2625" height="3500" width_o="2625" height_o="3500" data-src="https://freight.cargo.site/t/original/i/150427f4bc015f638f6f221cd40fc3c95a1b143ed16ddd954d2432e970e953b2/2026_REG_RET_RES_WEB_2.jpg" data-mid="247555816" border="0" data-scale="43" src="https://freight.cargo.site/w/1000/i/150427f4bc015f638f6f221cd40fc3c95a1b143ed16ddd954d2432e970e953b2/2026_REG_RET_RES_WEB_2.jpg" /&#62;

&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Maximiliano Ruelas (1994, Guadalajara, México) crea narrativas que dialogan en torno a las intersecciones en imposiciones históricas, la indumentaria y su significado social, la ecología colonial, y los diálogos semiótico-materiales. 

En su práctica, aprovecha su experiencia en procesos textiles y de confección para dar forma a un imaginario quimérico que cuestiona nuestras nociones dominantes de paisaje y corporeidad, mientras desafía la relación simbiótica entre prácticas humanas y no humanas.

Ha exhibido su trabajo en México, Inglaterra, Italia y Países Bajos. Fue acreedor del PECDA en 2024 y desde ese mismo año dirige Privada Pública, un centro curatorial y de producción para las prácticas del arte contemporáneo. 

Maximiliano cuenta con estudios en el IED de Barcelona y es egresado de Polimoda, en Florencia, Italia. Vive y trabaja en Guadalajara, México.


&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Maximiliano Ruelas’s (1994, Guadalajara, México) work aims to create narratives that engage in dialogue across different social contexts, particularly surrounding the intersections between historical impositions, clothing and its social significance, colonial ecology, and semiotic-material dialogues. 
In his practice, Ruelas leverages his experience in textile and garment processes to shape a chimerical imagery that questions impositions on our notions of landscape and corporeality, while challenging the symbiotic relationship between human and non-human practices.

His work has been exhibited in Mexico, United Kingdom, Italy and the Netherlands. He holds a BA from Polimoda, in Florence, Italy. He lives and works in Guadalajara, México.
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		<title>Info copy</title>
				
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		<pubDate>Fri, 09 Jun 2023 21:47:56 +0000</pubDate>

		<dc:creator>Maximiliano Ruelas</dc:creator>

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maximilianoruelas@gmail.com


	+52 33 3325 1437
	@maxruelas
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		<title>CV</title>
				
		<link>https://maximilianoruelas.com/CV-1</link>

		<pubDate>Wed, 11 Jun 2025 17:35:14 +0000</pubDate>

		<dc:creator>Maximiliano Ruelas</dc:creator>

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		<description>&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 

&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 

Descargar CV


Education

2013-2017
Polimoda International Institute of Design and Marketing (Florence, Italy) Textile design and fashion

2013
IED (Barcelona, Spain)
Art and Design

Solo shows
“Extraer todo el aire y el agua que existen en los nervios de la sustancia”, Palma, Guadalajara, México - 2025

“Como si fueran monos, levantaban el oro”, curated by Rodrigo Santoscoy
Privada Pública, Guadalajara, México - 2025

“Nadie puede nombrar el día en que una simia dio a luz a unx humanx” curated by Maya Escárcega, Espacio Cabeza, Guadalajara, México - 2024

"Canta el gallo, y su canto dura más que sus alas" TODOMUNDO, Guadalajara, México - 2021


Duo shows“Se desdobló con el tiempo” Plataforma, Guadalajara, México - 2026
Group shows

2026
“Metabolítica” Croma, Ciudad de México, México
“(Des)vestir y (des)obedecer, MAZ Museo, Guadalajara, México
“Mañana” curated by Polina Stroganova, Palma, Guadalajara, México&#38;nbsp;

2025
“Material Conversations” Dazed, London, United Kingdom“Después del Ruido” Lanao, Ciudad de México, México

2024“Transmisión Ancestral” curated by Agustín Pérez Rubio, Plataforma, Guadalajara, México“Refugio Garambullo” curated by Paola Jasso, Trámite buró de coleccionistas, Querétaro, México&#38;nbsp;“ZZZ” Ballista, Ciudad de México, México

2023"Forma Familiar" Koik Contemporary Ciudad de México, México"Los de Abajo: Laboratorio Educativo" MAZ, Guadalajara, México"Las Estructuras Dinámicas Nunca Son Lineales" Radio28, Ciudad de México, México"Soft Shock" Ballista, Ciudad de México, México"En Juego" Nike, Ciudad de México, México

2022"Constelaciones" Armendaguer, Guadalajara, México"Presentes" Ex Convento del Carmen, Guadalajara, México
Residencies
Curatorial Program for Research, New York, USA - 2026
Croma x PAC, Ciudad de México, México - 2026
Plataforma x Cerámica Suro, Guadalajara, México - 2026

Dazed x Mason &#38;amp; Fifth, London, United Kingdom - 2025

Refugio garambullo/Trámite Buro de Coleccionistas, Querétaro, México - 2024

Radio28,&#38;nbsp;Ciudad de México, México - 2023

Mark Bradford en el MAZ,&#38;nbsp;Guadalajara, México - 2023

MOAM Collective International,&#38;nbsp;Amsterdam, Netherlands - 2018

Awards and grants

Beneficiario del Programa de Estímulos a la Creación y al Desarrollo Artístico de Jalisco en la&#38;nbsp;categoría de Jóvenes Creadores 2024

Winner of the IED Crear Scholarship, Barcelona, Spain

Winner of the Falco Pellami award at Linea Pelle, Milan, Italy

Finalist at the Amsterdam Fund for the Arts, Amsterdam, Netherlands

Finalist at the Łódź Young Fashion Award and the WGSN Future Creators Award, Łódź, Poland


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		<title>Se desdobló con el tiempo</title>
				
		<link>https://maximilianoruelas.com/Se-desdoblo-con-el-tiempo</link>

		<pubDate>Fri, 24 Apr 2026 00:24:38 +0000</pubDate>

		<dc:creator>Maximiliano Ruelas</dc:creator>

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Se Desdobló con el Tiempo

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&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Basaltos, tezontles, pumitas y obsidianas: formaciones minerales originadas de flujos de lava que atraviesan capas geológicas marca- das por pulsos tectónicos y enfriamientos radicales. Guadalajara significa «río de piedras» y Jalisco «lugar sobre la arena», ambas maneras de nombrar un territorio atravesado por antiguas erupciones que aún sostienen la superficie que habitamos. En este relieve, el tiempo no se presenta como una línea, sino como una acumulación activa, una superposición de procesos que continúan transformándose.

&#60;img width="4770" height="5118" width_o="4770" height_o="5118" data-src="https://freight.cargo.site/t/original/i/e5a143781412abd89d30336dbddf84568ce5aa6b30ebe404ce0a85cc494433c9/2026_REG_PLAC_RES_32.jpg" data-mid="247857439" border="0"  src="https://freight.cargo.site/w/1000/i/e5a143781412abd89d30336dbddf84568ce5aa6b30ebe404ce0a85cc494433c9/2026_REG_PLAC_RES_32.jpg" /&#62;Dressel 20Cerámica esmaltada de alta temperatura, acero54 x 45 x 45 cm

Si el tiempo geológico nos sitúa en escalas casi incomprensibles, la historia humana (más breve pero no menos intensa) también produce sus propios es- tratos. Entre los siglos I y III d. C., millones de ánforas rotas fueron dispuestas en formaciones que con el tiempo devinieron paisaje. Restos de sistemas de producción, transporte y consumo que, al acumularse, construyen territorio. Aquello que fue contenedor se convierte en ruina y aquello que fue desecho en estructura.

&#60;img width="5855" height="3908" width_o="5855" height_o="3908" data-src="https://freight.cargo.site/t/original/i/3b3514a2e94bcadd29961a84f91007f189872be8094fb4624a7a90052b2abe72/2026_REG_PLAC_RES_-20_edit.jpg" data-mid="247857536" border="0"  src="https://freight.cargo.site/w/1000/i/3b3514a2e94bcadd29961a84f91007f189872be8094fb4624a7a90052b2abe72/2026_REG_PLAC_RES_-20_edit.jpg" /&#62;
&#60;img width="3543" height="2953" width_o="3543" height_o="2953" data-src="https://freight.cargo.site/t/original/i/03fb04976426037cff59e61c79ea642cf92cf0f97aa117ec21e2695dc13012cc/2026_REG_PLAC_RES_-20-cut.jpg" data-mid="247857366" border="0"  src="https://freight.cargo.site/w/1000/i/03fb04976426037cff59e61c79ea642cf92cf0f97aa117ec21e2695dc13012cc/2026_REG_PLAC_RES_-20-cut.jpg" /&#62;Tecnofósil 3Textil de telar de pedal, tintes ácidos, lámina de aluminio
100 x 85 cm


Estos desplazamientos —de lo geológico a lo histórico, de lo mineral a lo industrial— no operan como una secuencia, sino como pliegues. En ellos, el tiempo se desdobla: pasado, presente y futuro coexisten como capas simultá- neas, activas y en constante fricción. El tiempo no avanza de manera uniforme ni progresiva; se expande, se contrae, se superpone. A veces se manifiesta en la lentitud casi imperceptible de una transformación mineral, y otras en la velocidad acelerada de ciclos de producción y consumo. Es al mismo tiempo proceso y acumulación, desgaste y persistencia. En ese desdoblamiento, lo que parece residual adquiere densidad histórica, y lo que consideramos presente comienza ya a operar como vestigio.


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Ensamblaje 26
Cerámica esmaltada de alta temperatura, caparazón de armadillo, corset ortópedico, acero&#38;nbsp;130 x 40 x 40 cm

El proceso creativo de Maximiliano Ruelas (Guadalajara, México, 1994) se ancla en la materialidad como campo de especulación histórica y política. A través de la acumulación, la fragmentación y la réplica, indaga en cómo los materiales encarnan procesos de extracción, circulación y dispendio. En tensión constante entre procesos industriales y artesanales, sus formas remiten a sistemas productivos que exceden al objeto individual. El interés por materiales como el plástico y la cerámica se articula desde su potencial como tecnofósiles: residuos contemporáneos capaces de perdurar y registrar la actividad humana en gamas geológicas. Desde esta perspectiva, el presente se piensa como un archivo en formación, donde los desechos no solo evidencian un sistema, sino que anticipan su sedimentación futura.
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&#60;img width="6053" height="8071" width_o="6053" height_o="8071" data-src="https://freight.cargo.site/t/original/i/e7764789f312ed37df71b355c40fb163d122ad63ebb571a7bae1dd9563faa9c3/2026_REG_PLAC_RES_20_edit.jpg" data-mid="247857438" border="0"  src="https://freight.cargo.site/w/1000/i/e7764789f312ed37df71b355c40fb163d122ad63ebb571a7bae1dd9563faa9c3/2026_REG_PLAC_RES_20_edit.jpg" /&#62;
&#60;img width="8235" height="6176" width_o="8235" height_o="6176" data-src="https://freight.cargo.site/t/original/i/2519f63aee2d47b63653cdd64af77fbcab6c729e8c5e3dcad49b1fd229f455de/2026_REG_PLAC_RES_19_edit.jpg" data-mid="247857437" border="0"  src="https://freight.cargo.site/w/1000/i/2519f63aee2d47b63653cdd64af77fbcab6c729e8c5e3dcad49b1fd229f455de/2026_REG_PLAC_RES_19_edit.jpg" /&#62;

Energy PrimerGobelino de algodón, acero, aluminio&#38;nbsp;185 x 145 cm


&#60;img width="2625" height="3500" width_o="2625" height_o="3500" data-src="https://freight.cargo.site/t/original/i/c18010b5ec1d8260fb8dbc7b61d489c62d7aebd8bc8ae680a8ee9d0851e71d2f/2026_REG_PLAC_RES_WEB_42.jpg" data-mid="247555970" border="0" data-scale="84" src="https://freight.cargo.site/w/1000/i/c18010b5ec1d8260fb8dbc7b61d489c62d7aebd8bc8ae680a8ee9d0851e71d2f/2026_REG_PLAC_RES_WEB_42.jpg" /&#62;&#60;img width="8113" height="6085" width_o="8113" height_o="6085" data-src="https://freight.cargo.site/t/original/i/93213d1c207ec5d89b537cff4e9934992abd54effcd1d3e9f039ce214c5f8341/2026_REG_PLAC_RES_21_edit.jpg" data-mid="247857369" border="0" data-scale="67" src="https://freight.cargo.site/w/1000/i/93213d1c207ec5d89b537cff4e9934992abd54effcd1d3e9f039ce214c5f8341/2026_REG_PLAC_RES_21_edit.jpg" /&#62;Ensamblaje 12
Cerámica esmaltada de alta temperatura, espuma de alta densidad, cuerda de vida 
135 x 70 x 32 cm


La fosilización emerge como fuga central, no únicamente como registro del pasado, sino como proyección hacia futuros venideros. La materia deja de ser un soporte pasivo para convertirse en agente vivo, portadora de memoria e intuición. Aquí los límites entre naturaleza y vestigio, entre residuo y recurso, entre archivo y ficción, se vuelven inestables.

En el horizonte de esta exposición emerge, por un lado, la noción de tragedia contemporánea —la imposibilidad de escapar de los sistemas de consumo que habitamos— y, por otro, la invitación a superar la dicotomía simplista entre realismo y ficción para replantear la obsesión de producir con el fin de representar. Como sugiere la filósofa multiespecies Donna Haraway, necesitamos narrativas que nos permitan imaginar mundos con mayor sentido. Ruelas produce, y desde ese gesto emerge un tiempo compartido e interconectado que, por momentos, susurra un presagio o una advertencia.

romina beltrán lazo


&#60;img width="3500" height="2625" width_o="3500" height_o="2625" data-src="https://freight.cargo.site/t/original/i/7cbbb3057ded79e3691da3d0001eecbc0a03270aea498ba9f9cc00cb7521a23f/2026_REG_PLAC_RES_WEB_40.jpg" data-mid="247555968" border="0"  src="https://freight.cargo.site/w/1000/i/7cbbb3057ded79e3691da3d0001eecbc0a03270aea498ba9f9cc00cb7521a23f/2026_REG_PLAC_RES_WEB_40.jpg" /&#62;


&#60;img width="4118" height="5491" width_o="4118" height_o="5491" data-src="https://freight.cargo.site/t/original/i/79b80e4aef46aaa9cb1ad52db30bb05d7375822245eccbbd9906537953718aab/IMG_5561.jpg" data-mid="247857510" border="0"  src="https://freight.cargo.site/w/1000/i/79b80e4aef46aaa9cb1ad52db30bb05d7375822245eccbbd9906537953718aab/IMG_5561.jpg" /&#62;
&#60;img width="3348" height="3745" width_o="3348" height_o="3745" data-src="https://freight.cargo.site/t/original/i/4c9f31725f491026ae62ecaae073bed780adcf95e31d80ceec77e20c9e180217/IMG_5562.jpg" data-mid="247857511" border="0"  src="https://freight.cargo.site/w/1000/i/4c9f31725f491026ae62ecaae073bed780adcf95e31d80ceec77e20c9e180217/IMG_5562.jpg" /&#62;
&#60;img width="3946" height="5262" width_o="3946" height_o="5262" data-src="https://freight.cargo.site/t/original/i/77087b87e3020ddfc5c4cfe48a433cbd83bf160584f9957b40c6884a24cf9e27/IMG_5560.jpg" data-mid="247857513" border="0"  src="https://freight.cargo.site/w/1000/i/77087b87e3020ddfc5c4cfe48a433cbd83bf160584f9957b40c6884a24cf9e27/IMG_5560.jpg" /&#62;

Barcelona - Amsterdam - Nueva York
 Cerámica esmaltada de baja temperatura
60 x 40 cm


&#60;img width="2625" height="3500" width_o="2625" height_o="3500" data-src="https://freight.cargo.site/t/original/i/3ae90e646e42386e837984db5bcefd5edfc1f87b03aa5122e2799d5568a6776b/2026_REG_PLAC_RES_WEB_29.jpg" data-mid="247555971" border="0"  src="https://freight.cargo.site/w/1000/i/3ae90e646e42386e837984db5bcefd5edfc1f87b03aa5122e2799d5568a6776b/2026_REG_PLAC_RES_WEB_29.jpg" /&#62;
Tecnofósil 2
 Brazo metálico, acero, cinta tensora120 x 36 x 58 cm
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;

&#60;img width="3911" height="5214" width_o="3911" height_o="5214" data-src="https://freight.cargo.site/t/original/i/48975d627b41db2a95622574cccdda1d1b48adf3c71a0bb02b8fc80bb755bade/2026_REG_PLAC_RES_31-color.jpg" data-mid="247857375" border="0"  src="https://freight.cargo.site/w/1000/i/48975d627b41db2a95622574cccdda1d1b48adf3c71a0bb02b8fc80bb755bade/2026_REG_PLAC_RES_31-color.jpg" /&#62;Modern Plastics
Gobelino de algodón, aluminio135 x 104 cm

&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;Basalt, tezontle, pumice, obsidian: mineral formations that originate from flowing lava, traversing geological layers marked by tectonic pulses and radical cooling. Guadalajara means “river of stones,” and Jalisco means “over a sandy surface,” both ways of naming a territory penetrated by ancient eruptions that still hold the place we inhabit. On this terrain, time is not linear, but an active accumulation, a superposition of processes that continue to transform themselves. 

&#38;nbsp; &#38;nbsp; If geological time spans on almost incomprehensible scales, human history (briefer but no less intense) also produces its own strata. Between the 1st and 3rd centuries, millions of broken amphoras were arranged in formations that, over time, became part of the landscape. Remnants of systems of production, transportation, and consumption that, when accumulated, form territory. Containers are turned into ruins and waste into structure. 

&#38;nbsp; &#38;nbsp; These displacements—from geological to historical, from mineral to industrial—do not operate as a sequence, but as creases. In them, time unfolds: past, present, and future coexist as simultaneous layers, active and constantly in friction. Time does not advance in a uniform or progressive way; it expands, contracts, and superposes. Sometimes it manifests in the almost imperceptible slowness of mineral transformation, and others, in the accelerated velocity of production and consumption cycles. It is at the same time process and accumulation, wear and persistence. In this unfolding, what seems residual acquires a historic density, and what we consider present begins to operate as vestige. 
&#38;nbsp; &#38;nbsp; The creative process of Maximiliano Ruelas (b. Guadalajara, Mexico, 1994) is anchored in materiality as a field of historical and political speculation. Through accumulation, fragmentation, and replication, he explores how materials incarnate extraction, circulation, and desintegration. In constant tension between industrial and artisanal methodologies, his forms refer to production systems that exceed the individual object. The interest in materials such as plastic and ceramics is articulated through their technofossil potential: contemporary residues capable of enduring and registering human activity over geological timescales. From this perspective, the present is thought of as an archive in formation, where residues not only evidence a system, but anticipate its future sedimentation. Fossilization emerges as a central line, not only as a record of the past, but as a projection into coming futures. Matter ceases to be a passive support to turn into a living agent, carrier of memory and intuition. Here, the limits between nature and vestige, residue and resource, archive and fiction, become unstable. 

&#38;nbsp; &#38;nbsp; On the horizon of this exhibition, emerges, on one side, the contemporary notion of tragedy—the impossibility of escaping the consumption systems we live in—and, on the other, the invitation to overcome the simplistic dichotomy between realism and fiction to reconsider the obsession of producing to represent. As the multispecies thinker Donna Haraway suggests, we need narratives that allow us to imagine worlds with more sense. Ruelas produces, and from his gesture a shared and interconnected time emerges that, for moments, whispers a premonition or a warning.
 
romina beltrán lazo

&#60;img width="2336" height="3500" width_o="2336" height_o="3500" data-src="https://freight.cargo.site/t/original/i/168ccb221816f687846699780647fd7d2082eb743a90433dbf398043c63b0909/2026_REG_PLAC_RES_29.jpg" data-mid="248402346" border="0"  src="https://freight.cargo.site/w/1000/i/168ccb221816f687846699780647fd7d2082eb743a90433dbf398043c63b0909/2026_REG_PLAC_RES_29.jpg" /&#62;
&#60;img width="2336" height="3500" width_o="2336" height_o="3500" data-src="https://freight.cargo.site/t/original/i/c50cf1ae2c48b6d9635eb0ca0a09bd89436108c3453e77badeada620d106874a/2026_REG_PLAC_RES_32.jpg" data-mid="248402344" border="0"  src="https://freight.cargo.site/w/1000/i/c50cf1ae2c48b6d9635eb0ca0a09bd89436108c3453e77badeada620d106874a/2026_REG_PLAC_RES_32.jpg" /&#62;
&#60;img width="2336" height="3500" width_o="2336" height_o="3500" data-src="https://freight.cargo.site/t/original/i/bbe4cf8da89422e20c454402e3160e6b56c34b510483cc1756f26d3a970383f0/2026_REG_PLAC_RES_27.jpg" data-mid="248402342" border="0"  src="https://freight.cargo.site/w/1000/i/bbe4cf8da89422e20c454402e3160e6b56c34b510483cc1756f26d3a970383f0/2026_REG_PLAC_RES_27.jpg" /&#62;
&#60;img width="2336" height="3500" width_o="2336" height_o="3500" data-src="https://freight.cargo.site/t/original/i/4b92504d4d5e7579e7ea05172d8bcbe84332ff418df98d3b045521675bcc6c4d/2026_REG_PLAC_RES_35.jpg" data-mid="248402345" border="0"  src="https://freight.cargo.site/w/1000/i/4b92504d4d5e7579e7ea05172d8bcbe84332ff418df98d3b045521675bcc6c4d/2026_REG_PLAC_RES_35.jpg" /&#62;
Ensamblaje 14Cerámica esmaltada de alta y baja temperatura, acero, correa de seguridad150 x 70 x 55 cm


&#60;img width="3500" height="2336" width_o="3500" height_o="2336" data-src="https://freight.cargo.site/t/original/i/284fc783cb16e041c6fe4c116412a893b85dea628059ec8a797bb781cce49665/2026_REG_PLAC_RES_Web_-6.jpg" data-mid="247555949" border="0"  src="https://freight.cargo.site/w/1000/i/284fc783cb16e041c6fe4c116412a893b85dea628059ec8a797bb781cce49665/2026_REG_PLAC_RES_Web_-6.jpg" /&#62;</description>
		
	</item>
		
		
	<item>
		<title>Espacio para Asolear la Ropa</title>
				
		<link>https://maximilianoruelas.com/Espacio-para-Asolear-la-Ropa</link>

		<pubDate>Wed, 15 Jul 2026 23:22:35 +0000</pubDate>

		<dc:creator>Maximiliano Ruelas</dc:creator>

		<guid isPermaLink="true">https://maximilianoruelas.com/Espacio-para-Asolear-la-Ropa</guid>

		<description>

Espacio Para Asolear la Ropa

&#60;img width="9504" height="6336" width_o="9504" height_o="6336" data-src="https://freight.cargo.site/t/original/i/15916988bd70cb4bad9e401ac33ecc312a2a55d70d425017775858be72586710/DSC09577-2.jpg" data-mid="250450397" border="0"  src="https://freight.cargo.site/w/1000/i/15916988bd70cb4bad9e401ac33ecc312a2a55d70d425017775858be72586710/DSC09577-2.jpg" /&#62;
&#60;img width="9501" height="6334" width_o="9501" height_o="6334" data-src="https://freight.cargo.site/t/original/i/4251296cf61a13749052368ed92f52782274d40470c98da2c1249d428d291b87/DSC09622-2.jpg" data-mid="250450394" border="0"  src="https://freight.cargo.site/w/1000/i/4251296cf61a13749052368ed92f52782274d40470c98da2c1249d428d291b87/DSC09622-2.jpg" /&#62;
 
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; La biopolítica es un término acuñado por el filósofo francés Michel Foucault, en el que señala cómo los cuerpos se encuentran sujetos a las relaciones de poder que ejercen las instituciones mediante la gestión del conocimiento. Durante el virreinato en la Nueva España, la administración ultramarina regulaba el territorio, los recursos y los cuerpos. Un ejemplo puede observarse en el oficio de las mujeres lavanderas: un trabajo relegado a mujeres racializadas que requería acceso a manantiales ubicados en lugares estratégicos de las ciudades. Sin embargo, el oficio comenzó a considerarse inmoral por la ciudadanía, lo que obligó a las autoridades a regularizar la práctica mediante códigos de comportamiento, de vestimenta y de delimitación espacial.

&#60;img width="6003" height="9005" width_o="6003" height_o="9005" data-src="https://freight.cargo.site/t/original/i/05dbef63ac2057bbb8591dcc2516444dd530732261c4a6d1814351a75ef31bee/DSC09647-2.jpg" data-mid="250450390" border="0"  src="https://freight.cargo.site/w/1000/i/05dbef63ac2057bbb8591dcc2516444dd530732261c4a6d1814351a75ef31bee/DSC09647-2.jpg" /&#62;

El artista mexicano Maximiliano Ruelas indaga en los procesos históricos que sustentan las relaciones de poder, especialmente en aquellos atravesados por la indumentaria. La pieza “Espacio para asolear la ropa” forma parte de una extensa investigación que señala la migración de los oficios de cuidado y atención, del espacio público al privado, derivada de los esfuerzos de las instituciones por sanitizar la imagen urbana. 

&#60;img width="5623" height="8434" width_o="5623" height_o="8434" data-src="https://freight.cargo.site/t/original/i/7ed55f34f6e190d07a78fc954cd626940a02e232bb732a56cbbce7caa0c1200e/DSC09658-2.jpg" data-mid="250450393" border="0"  src="https://freight.cargo.site/w/1000/i/7ed55f34f6e190d07a78fc954cd626940a02e232bb732a56cbbce7caa0c1200e/DSC09658-2.jpg" /&#62;

&#60;img width="9406" height="6271" width_o="9406" height_o="6271" data-src="https://freight.cargo.site/t/original/i/d077a5b776051e77699bf8869d42ee318a4a6badff92ed233fa5bfa2e94934f6/DSC09626-2.jpg" data-mid="250450395" border="0"  src="https://freight.cargo.site/w/1000/i/d077a5b776051e77699bf8869d42ee318a4a6badff92ed233fa5bfa2e94934f6/DSC09626-2.jpg" /&#62;
Ruelas presenta un tendedero que reúne una parte de su guardarropa, como un archivo que debería estar resguardado de la mirada ajena y que, de forma no solicitada, compromete su intimidad. En su investigación, la intimidad se presenta de forma irónica, como un privilegio sujeto al consumo orientado a satisfacer necesidades o deseos. En particular, la comodidad que brinda el electrodoméstico, presentando a la lavadora como el pináculo de la intimidad contemporánea.


&#60;img width="6031" height="9046" width_o="6031" height_o="9046" data-src="https://freight.cargo.site/t/original/i/d1e886244054e788e3be85aff9a3157df41e5b5e0e791a081a4bd0316e9a72bf/DSC09659-2.jpg" data-mid="250450388" border="0"  src="https://freight.cargo.site/w/1000/i/d1e886244054e788e3be85aff9a3157df41e5b5e0e791a081a4bd0316e9a72bf/DSC09659-2.jpg" /&#62;
&#60;img width="5873" height="8810" width_o="5873" height_o="8810" data-src="https://freight.cargo.site/t/original/i/79b41e2921e614f7027efdb60dc4bfef9f760c60f8d9cbb483283b7d08eceedd/DSC09649-2.jpg" data-mid="250450391" border="0"  src="https://freight.cargo.site/w/1000/i/79b41e2921e614f7027efdb60dc4bfef9f760c60f8d9cbb483283b7d08eceedd/DSC09649-2.jpg" /&#62;


&#60;img width="9504" height="6336" width_o="9504" height_o="6336" data-src="https://freight.cargo.site/t/original/i/b3bd8bd3143f83095d38ae6d916200f7b34c378f6a0fdeedeb4f68a8fba1df04/DSC09592-2.jpg" data-mid="250451136" border="0"  src="https://freight.cargo.site/w/1000/i/b3bd8bd3143f83095d38ae6d916200f7b34c378f6a0fdeedeb4f68a8fba1df04/DSC09592-2.jpg" /&#62;Vida doméstica 1Impresión UV sobre lámina galvanizada110 × 80 cm


&#60;img width="6049" height="9074" width_o="6049" height_o="9074" data-src="https://freight.cargo.site/t/original/i/8c4fc783052a454356f3675573ff558892ac99a9a362425d67d94d31719fe24e/DSC09661-2.jpg" data-mid="250450389" border="0"  src="https://freight.cargo.site/w/1000/i/8c4fc783052a454356f3675573ff558892ac99a9a362425d67d94d31719fe24e/DSC09661-2.jpg" /&#62;
&#60;img width="6154" height="9231" width_o="6154" height_o="9231" data-src="https://freight.cargo.site/t/original/i/11dc1f3e18fafb3f48657fb7b045a8f6ba710c8fb6cd73a887de97ddfa394314/DSC09655-2.jpg" data-mid="250451129" border="0"  src="https://freight.cargo.site/w/1000/i/11dc1f3e18fafb3f48657fb7b045a8f6ba710c8fb6cd73a887de97ddfa394314/DSC09655-2.jpg" /&#62;


&#60;img width="9504" height="6336" width_o="9504" height_o="6336" data-src="https://freight.cargo.site/t/original/i/9bcf4b289fc23e0b0707324adebc5360f0be35d5dd45d445c4bc9cb50dca06cf/DSC09580-2.jpg" data-mid="250450396" border="0"  src="https://freight.cargo.site/w/1000/i/9bcf4b289fc23e0b0707324adebc5360f0be35d5dd45d445c4bc9cb50dca06cf/DSC09580-2.jpg" /&#62;
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;Biopolitics is a term coined by the French philosopher Michel Foucault, in which he points out how bodies are subject to the power relations exercised by institutions through the management of knowledge. During the viceroyalty in New Spain, the overseas administration regulated the territory, resources, and bodies. An example can be observed in the trade of washerwomen: a job relegated to racialized women that required access to springs located in strategic places throughout the cities. However, the trade began to be considered immoral by the citizenry, which forced the authorities to regularize the practice through codes of behavior, dress, and spatial delimitation.

The Mexican artist Maximiliano Ruelas explores the historical processes that underpin power relations, especially those bound up with clothing. The piece “Espacio para asolear la ropa” (Space to Sun-Dry Clothes) is part of an extensive investigation that points to the migration of care and attention work from the public to the private sphere, stemming from institutional efforts to sanitize the urban image. Ruelas presents a clothesline that gathers part of his wardrobe, like an archive that should be shielded from the gaze of others and that, without being asked, compromises his privacy. In his research, intimacy is presented ironically, as a privilege subject to consumption aimed at satisfying needs or desires. In particular, the comfort provided by the household appliance, presenting the washing machine as the pinnacle of contemporary intimacy.
 Rodrigo Santoscoy

&#60;img width="6336" height="9504" width_o="6336" height_o="9504" data-src="https://freight.cargo.site/t/original/i/9908783509867cdfe0170df6eb6badbdfeabedabcb36ce3b5c23454923dfdac2/DSC09651-2.jpg" data-mid="250451122" border="0"  src="https://freight.cargo.site/w/1000/i/9908783509867cdfe0170df6eb6badbdfeabedabcb36ce3b5c23454923dfdac2/DSC09651-2.jpg" /&#62;


</description>
		
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	<item>
		<title>Extraer todo el aire</title>
				
		<link>https://maximilianoruelas.com/Extraer-todo-el-aire</link>

		<pubDate>Fri, 10 Oct 2025 01:40:45 +0000</pubDate>

		<dc:creator>Maximiliano Ruelas</dc:creator>

		<guid isPermaLink="true">https://maximilianoruelas.com/Extraer-todo-el-aire</guid>

		<description>

Extraer todo el aire y el agua que existen en los nervios de la sustancia

&#60;img width="3500" height="1779" width_o="3500" height_o="1779" data-src="https://freight.cargo.site/t/original/i/3712fc4e162c35a07151e85234e6c1206596ac22a599d14c91527d47c89aa2c7/2025_REG_PALMA_MAX_.jpg" data-mid="239220358" border="0"  src="https://freight.cargo.site/w/1000/i/3712fc4e162c35a07151e85234e6c1206596ac22a599d14c91527d47c89aa2c7/2025_REG_PALMA_MAX_.jpg" /&#62;

 &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;La exposición indaga en la historia de la Gutta percha, (del malayo getah: 'savia' y pertja: 'árbol') un tipo de goma parecida al caucho, translúcida, sólida y flexible obtenida de la savia del Palaquium gutta. Un material que cambió radicalmente la comunicación y el poder en el siglo XIX. Originaria del archipiélago indomalayo, la Gutta percha fue clave para la invención del primer sistema de comunicación global: el cable telegráfico submarino. 

Este material aislante, resistente a químicos y capaz de ser moldeado, permitió que las, noticias y órdenes atravesaran océanos en segundos, expandiendo el poder colonial, la economía y la tecnología. Sin embargo, su historia revela también un impacto ecológico devastador, pues la demanda llevó a la destrucción masiva de árboles en una región que ahora conoce su sobreexplotación.

&#60;img width="2625" height="3500" width_o="2625" height_o="3500" data-src="https://freight.cargo.site/t/original/i/b693549af352f41008dd9c4e066a0e8cc7a79a239ca580631d9540c5c87c1944/edit_2025_REG_PALMA_MAX_web_.jpg" data-mid="239220342" border="0"  src="https://freight.cargo.site/w/1000/i/b693549af352f41008dd9c4e066a0e8cc7a79a239ca580631d9540c5c87c1944/edit_2025_REG_PALMA_MAX_web_.jpg" /&#62;
Arandela para cañería de agua fría&#38;nbsp;Seda, tinte ácido, caucho, cable de acero trenzado.
140 x 110 cm


Este relato nos invita a cuestionar las tecnologías que consideramos “progreso”. La misma Gutta-percha, símbolo de aceleración y expansión, encarna una historia de uso y comercio global que, en su auge, contribuyó a la devastación del bosque tropical. La misma historia que nos recuerda cómo la innovación tecnológica, aunque poderosa, puede estar marcada por la explotación y el olvido de las conexiones con la naturaleza.


&#60;img width="2625" height="3500" width_o="2625" height_o="3500" data-src="https://freight.cargo.site/t/original/i/f342909bbef8b374c7dfd3c5730bab0017e88dcd97cd486944c40b8cd31cdf00/edit_2025_REG_PALMA_MAX_web_-1.jpg" data-mid="239220340" border="0"  src="https://freight.cargo.site/w/1000/i/f342909bbef8b374c7dfd3c5730bab0017e88dcd97cd486944c40b8cd31cdf00/edit_2025_REG_PALMA_MAX_web_-1.jpg" /&#62;
&#60;img width="2625" height="3500" width_o="2625" height_o="3500" data-src="https://freight.cargo.site/t/original/i/23b1a9bd77d67417832548893372aa7d5857b38b3483bc43647d1a963a1caa2d/2025_REG_PALMA_MAX_-2.jpg" data-mid="239220359" border="0"  src="https://freight.cargo.site/w/1000/i/23b1a9bd77d67417832548893372aa7d5857b38b3483bc43647d1a963a1caa2d/2025_REG_PALMA_MAX_-2.jpg" /&#62;

Vendaje hidropático
Seda, tinte ácido, caucho, cable de acero trenzado. 59 x 38 cm

Así como el antiguo material fue fundamental para conectar a las personas en una red global emergente, hoy en día enfrentamos una crisis similar: la escasez de recursos raros y minerales necesarios para nuestra presente digital. La historia de la Gutta-percha evidencia cómo la tecnología, a menudo, oculta su relación con el medio ambiente y las prácticas extractivas, cuestionando la ilusión de un progreso ininterrumpido.

Esta exposición, entonces, invita a cuestionar qué materiales y narrativas sustentan nuestras tecnologías actuales, y cómo esas historias permanecen invisibles en la superficie de nuestro mundo digital y material. La obra de Ruelas nos anima a imaginar otros diálogos posibles, críticos y sostenibles en un mundo en transformación constante.


&#60;img width="2625" height="3500" width_o="2625" height_o="3500" data-src="https://freight.cargo.site/t/original/i/444cb4635669bac8fc9b2893d65661828b769f4495b8f58033fa527626fc9561/edit_ea8f3ae4c8b25c8f5225f6c3a9aa5c55j.jpg" data-mid="239220348" border="0"  src="https://freight.cargo.site/w/1000/i/444cb4635669bac8fc9b2893d65661828b769f4495b8f58033fa527626fc9561/edit_ea8f3ae4c8b25c8f5225f6c3a9aa5c55j.jpg" /&#62;
Bobina de cordón para guarnición de ventanas
Seda, tinte ácido, caucho, cable de acero trenzado. 235 x 140 cm


&#60;img width="3500" height="2625" width_o="3500" height_o="2625" data-src="https://freight.cargo.site/t/original/i/8ed20ec1be7172a5debab197ccf4fb7cd230074949d0f0c1614e00051ef77eac/2025_REG_PALMA_MAX_web_-4.jpg" data-mid="239220346" border="0"  src="https://freight.cargo.site/w/1000/i/8ed20ec1be7172a5debab197ccf4fb7cd230074949d0f0c1614e00051ef77eac/2025_REG_PALMA_MAX_web_-4.jpg" /&#62;
Bomba para estiércol líquido
Caucho, arcilla epóxica
Medidas variables


&#60;img width="2625" height="3500" width_o="2625" height_o="3500" data-src="https://freight.cargo.site/t/original/i/d6d2a1dd10ef755cd48299b231589646fa97563cb1779a030022b40222112bc2/edit_2025_REG_PALMA_MAX_web_-2.jpg" data-mid="239220339" border="0"  src="https://freight.cargo.site/w/1000/i/d6d2a1dd10ef755cd48299b231589646fa97563cb1779a030022b40222112bc2/edit_2025_REG_PALMA_MAX_web_-2.jpg" /&#62;
Fleco de aplicación en carruajes fúnebres

 Seda, tinte ácido, caucho, cable de acero trenzado
56 x 59 cm


&#60;img width="2625" height="3500" width_o="2625" height_o="3500" data-src="https://freight.cargo.site/t/original/i/9d7db9aed7b04786b6fc0b730e9b15168326bb3518ba1358b827e4d34ff8ab53/2025_REG_PALMA_MAX_web_-8.jpg" data-mid="239220338" border="0"  src="https://freight.cargo.site/w/1000/i/9d7db9aed7b04786b6fc0b730e9b15168326bb3518ba1358b827e4d34ff8ab53/2025_REG_PALMA_MAX_web_-8.jpg" /&#62;

Refuerzo destinado a fabricantes de lino
 Seda, tinte ácido, caucho, cable de acero trenzado400 x 170 x 140 cm
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;


&#60;img width="2625" height="3500" width_o="2625" height_o="3500" data-src="https://freight.cargo.site/t/original/i/983575d0bc2dff66451d005cdce134535d3ff2c7a9aceea19d8579f9fd2097af/2025_REG_PALMA_MAX_web_-7.jpg" data-mid="239220337" border="0"  src="https://freight.cargo.site/w/1000/i/983575d0bc2dff66451d005cdce134535d3ff2c7a9aceea19d8579f9fd2097af/2025_REG_PALMA_MAX_web_-7.jpg" /&#62;
Lienzo preparado para entablillado
Seda, tinte ácido, caucho, cable de acero trenzado140 x 110 cm

&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; The exhibition delves into the history of gutta-percha (from Malay getah: “sap” and pertja: “tree”), a rubber-like material—translucent, solid, and flexible—obtained from the sap of Palaquium gutta. This material radically transformed communication and power in the 19th century. Originating in the Indo-Malayan archipelago, gutta-percha was key to the invention of the first global communication system: the submarine telegraph cable. Its insulating, chemical-resistant, and moldable properties allowed news and orders to cross oceans in seconds, expanding colonial power, economy, and technology. Yet its history also reveals a devastating ecological impact, as demand led to the massive destruction of trees in a region that still suffers from overexploitation.

This narrative invites us to question the technologies we consider “progress.” Gutta-percha, a symbol of acceleration and expansion, embodies a history of global trade and extraction that, at its peak, contributed to the devastation of tropical forests—a reminder that technological innovation, though powerful, is often marked by exploitation and the erasure of our connections with nature.

Just as this material once connected people across an emerging global network, today we face a similar crisis: the scarcity of rare resources and minerals essential to our digital present. The story of gutta-percha reveals how technology often conceals its ties to the environment and extractive practices, challenging the illusion of uninterrupted progress.

This exhibition thus invites reflection on the materials and narratives sustaining our contemporary technologies—and on how these histories remain hidden beneath the surface of our digital and material world. Ruelas’s work encourages us to imagine other, more critical and sustainable dialogues within a world in constant transformation.

&#60;img width="3500" height="2625" width_o="3500" height_o="2625" data-src="https://freight.cargo.site/t/original/i/e823aa8f36dfe0deeeb2e0bc47a84b10aac21148c5d2f430805bf34a0079cfbb/2025_REG_PALMA_MAX_-7.jpg" data-mid="239220360" border="0"  src="https://freight.cargo.site/w/1000/i/e823aa8f36dfe0deeeb2e0bc47a84b10aac21148c5d2f430805bf34a0079cfbb/2025_REG_PALMA_MAX_-7.jpg" /&#62;
</description>
		
	</item>
		
		
	<item>
		<title>Metabolítica</title>
				
		<link>https://maximilianoruelas.com/Metabolitica</link>

		<pubDate>Thu, 23 Jul 2026 22:48:53 +0000</pubDate>

		<dc:creator>Maximiliano Ruelas</dc:creator>

		<guid isPermaLink="true">https://maximilianoruelas.com/Metabolitica</guid>

		<description>

Metabolítica

&#60;img width="3892" height="3020" width_o="3892" height_o="3020" data-src="https://freight.cargo.site/t/original/i/b5b181eee4eed18b40e956534be4a2416bb0a99862ecb0408b0cd8f3e34a565d/IMG_0316-copia-2.jpg" data-mid="250674092" border="0"  src="https://freight.cargo.site/w/1000/i/b5b181eee4eed18b40e956534be4a2416bb0a99862ecb0408b0cd8f3e34a565d/IMG_0316-copia-2.jpg" /&#62;

 &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;Todo organismo metaboliza en cuatro tiempos, ingesta, transformación, retención y excreción. En cada uno hay una decisión previa, qué cuenta como alimento, qué como veneno, qué se guarda y qué se declara desecho. 


Foucault llamó biopolítica a la gestión de la vida de las poblaciones; Mbembe, necropolítica, a la de su muerte; Byung-Chul Han, psicopolítica, a la explotación del rendimiento psíquico bajo el imperativo neoliberal de la positividad. Ninguno nombra la escala del cuerpo individual absorbiendo y expulsando lo que un sistema hospitalario, hidráulico o racial decidió que le correspondía. Esta exposición propone llamar a esa operación metabolítica. 


&#60;img width="5184" height="3456" width_o="5184" height_o="3456" data-src="https://freight.cargo.site/t/original/i/b6c426c43795c65c488d5edd6cff9f759123ea5a3b927afd78b17f344ceb7316/IMG_0317-copia.jpg" data-mid="250673876" border="0"  src="https://freight.cargo.site/w/1000/i/b6c426c43795c65c488d5edd6cff9f759123ea5a3b927afd78b17f344ceb7316/IMG_0317-copia.jpg" /&#62;&#60;img width="5102" height="3401" width_o="5102" height_o="3401" data-src="https://freight.cargo.site/t/original/i/5f74ec3b984a961ca2a5c3dc898f0588169883682020f9b600177dee3788519d/IMG_0324-copia.jpg" data-mid="250673878" border="0"  src="https://freight.cargo.site/w/1000/i/5f74ec3b984a961ca2a5c3dc898f0588169883682020f9b600177dee3788519d/IMG_0324-copia.jpg" /&#62;
gabineteTextil reflejante, fibra de poliéster, madera, calzado, tina de lámina
155 x 50 x 80 cm


&#60;img width="4935" height="3290" width_o="4935" height_o="3290" data-src="https://freight.cargo.site/t/original/i/fa17c647c604e805b2ebb79a5469dd3e03be0f8f3645d14f85f5503ef957f923/IMG_0320-copia.jpg" data-mid="250673877" border="0"  src="https://freight.cargo.site/w/1000/i/fa17c647c604e805b2ebb79a5469dd3e03be0f8f3645d14f85f5503ef957f923/IMG_0320-copia.jpg" /&#62;
&#60;img width="5057" height="3371" width_o="5057" height_o="3371" data-src="https://freight.cargo.site/t/original/i/32f38ea304c9d75e12360e0f3d806047ac69db05d48ed86747352544d78d3a5b/IMG_0330-copia.jpg" data-mid="250673881" border="0"  src="https://freight.cargo.site/w/1000/i/32f38ea304c9d75e12360e0f3d806047ac69db05d48ed86747352544d78d3a5b/IMG_0330-copia.jpg" /&#62;
&#60;img width="4849" height="3233" width_o="4849" height_o="3233" data-src="https://freight.cargo.site/t/original/i/a59ba3eeaae5707ce1edc95861e3fbe823c23ffc6c5e123ff383e0c5051e5a12/IMG_0329-copia.jpg" data-mid="250673880" border="0"  src="https://freight.cargo.site/w/1000/i/a59ba3eeaae5707ce1edc95861e3fbe823c23ffc6c5e123ff383e0c5051e5a12/IMG_0329-copia.jpg" /&#62;


Maximiliano Ruelas cierra el circuito metabólico donde la piel misma se vuelve frontera política. Fanon llamó epidermización de la inferioridad al momento en que la mirada externa fija un cuerpo a su superficie, haciéndolo portador de una carga que no eligió, la piel convertida en uniforme involuntario.
&#60;img width="3129" height="2246" width_o="3129" height_o="2246" data-src="https://freight.cargo.site/t/original/i/a67eb1ffb8c414a6f568216682c4e376268443892a217261de936c7d4849d4fd/IMG_0271-copia.jpg" data-mid="250674134" border="0"  src="https://freight.cargo.site/w/1000/i/a67eb1ffb8c414a6f568216682c4e376268443892a217261de936c7d4849d4fd/IMG_0271-copia.jpg" /&#62;brochaImpresión UV sobre aluminio117 x 58 cm

&#60;img width="5184" height="3456" width_o="5184" height_o="3456" data-src="https://freight.cargo.site/t/original/i/8d8d246c03f8574c63e9ba78de9db8e238367ee2c22090c7cd6b1a2033fbf253/IMG_0275-copia.jpg" data-mid="250673890" border="0"  src="https://freight.cargo.site/w/1000/i/8d8d246c03f8574c63e9ba78de9db8e238367ee2c22090c7cd6b1a2033fbf253/IMG_0275-copia.jpg" /&#62;
&#60;img width="5184" height="3456" width_o="5184" height_o="3456" data-src="https://freight.cargo.site/t/original/i/b8bc8b53774329556c682c23d00ee92d32743886afc13b4c03f49674462c2c91/IMG_0274-copia.jpg" data-mid="250673888" border="0"  src="https://freight.cargo.site/w/1000/i/b8bc8b53774329556c682c23d00ee92d32743886afc13b4c03f49674462c2c91/IMG_0274-copia.jpg" /&#62;
&#60;img width="5184" height="3456" width_o="5184" height_o="3456" data-src="https://freight.cargo.site/t/original/i/e8112cffb2fc8d7dfcbd34130b9f81ccd0b3068d59dd3a278347a2915d52088f/IMG_0273-copia.jpg" data-mid="250673889" border="0"  src="https://freight.cargo.site/w/1000/i/e8112cffb2fc8d7dfcbd34130b9f81ccd0b3068d59dd3a278347a2915d52088f/IMG_0273-copia.jpg" /&#62;
 Ruelas observa cómo el uniforme del trabajador doméstico, del empleado de hotel, del guardia de seguridad en América Latina, duplica ese proceso, una segunda piel institucional sobre la primera marca racial, produciendo un cuerpo doblemente fijado en su función. Sus piezas de tela reflejante producen ese cuerpo en tiempo real, usando el cuerpo del espectador como material, devolviéndole su propia imagen justo cuando mira un ente que no está ahí. 


&#60;img width="2030" height="2123" width_o="2030" height_o="2123" data-src="https://freight.cargo.site/t/original/i/e257571bb355eb788e164eebea91b6d1ef112a277d8ab4aa57b83d545ea0c7ca/IMG_0259-copia-2.jpg" data-mid="250674109" border="0"  src="https://freight.cargo.site/w/1000/i/e257571bb355eb788e164eebea91b6d1ef112a277d8ab4aa57b83d545ea0c7ca/IMG_0259-copia-2.jpg" /&#62;
&#60;img width="2024" height="2026" width_o="2024" height_o="2026" data-src="https://freight.cargo.site/t/original/i/152de3251b0f0a7882462a3561d621eb64f701022414cf3c1d4985fa60e6d12e/IMG_0258-copia-2.jpg" data-mid="250674108" border="0"  src="https://freight.cargo.site/w/1000/i/152de3251b0f0a7882462a3561d621eb64f701022414cf3c1d4985fa60e6d12e/IMG_0258-copia-2.jpg" /&#62;
correa
Tela reflejante, látex, herrajes metálicos
80 x 40 cm

&#60;img width="4845" height="3230" width_o="4845" height_o="3230" data-src="https://freight.cargo.site/t/original/i/c510e2ef4b8ef39e456d220b876eda73e6464ffe47565b10217aff2f86ee6e0a/IMG_0263-copia.jpg" data-mid="250673885" border="0"  src="https://freight.cargo.site/w/1000/i/c510e2ef4b8ef39e456d220b876eda73e6464ffe47565b10217aff2f86ee6e0a/IMG_0263-copia.jpg" /&#62;&#60;img width="5088" height="3392" width_o="5088" height_o="3392" data-src="https://freight.cargo.site/t/original/i/b1ee64058e554b719b0472821c291827474c6e6f83506fa927f03fb4f950b06b/IMG_0261-copia.jpg" data-mid="250673884" border="0"  src="https://freight.cargo.site/w/1000/i/b1ee64058e554b719b0472821c291827474c6e6f83506fa927f03fb4f950b06b/IMG_0261-copia.jpg" /&#62;

Metabolítica evidencia que, sin haberlo acordado, tres cuerpos distintos documentaron la misma operación política, la que decide, antes de que el cuerpo pueda decidir nada, qué le corresponde absorber y qué le corresponde expulsar. 


&#60;img width="3015" height="2693" width_o="3015" height_o="2693" data-src="https://freight.cargo.site/t/original/i/573c5f0b2b17d56a98a8de5daea54ee94bbb44c76a736943fa5b339ea2ca7830/IMG_0284-copia-2.jpg" data-mid="250674171" border="0"  src="https://freight.cargo.site/w/1000/i/573c5f0b2b17d56a98a8de5daea54ee94bbb44c76a736943fa5b339ea2ca7830/IMG_0284-copia-2.jpg" /&#62;
&#60;img width="1644" height="996" width_o="1644" height_o="996" data-src="https://freight.cargo.site/t/original/i/b2968941a1c99577bb62843f8d248f8eb36de5d1e44fa03a0e73ae7a2229c864/IMG_0286-copia-2.jpg" data-mid="250674174" border="0"  src="https://freight.cargo.site/w/1000/i/b2968941a1c99577bb62843f8d248f8eb36de5d1e44fa03a0e73ae7a2229c864/IMG_0286-copia-2.jpg" /&#62;
&#60;img width="5102" height="3401" width_o="5102" height_o="3401" data-src="https://freight.cargo.site/t/original/i/a6d2157f8147d386a9b3becb0cd998f925cfbcafb4ef5a9bcbaf31c8b293af5a/IMG_0291-copia.jpg" data-mid="250673894" border="0"  src="https://freight.cargo.site/w/1000/i/a6d2157f8147d386a9b3becb0cd998f925cfbcafb4ef5a9bcbaf31c8b293af5a/IMG_0291-copia.jpg" /&#62;
baton
 Tela reflejante, látex, herrajes metálicos
50 x 40 cm

 &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; Every organism metabolizes in four stages: ingestion, transformation, retention, and excretion. Each involves a prior decision — what counts as food, what as poison, what is kept, and what is declared waste.

Foucault called the management of populations' lives biopolitics; Mbembe called the management of their death necropolitics; Byung-Chul Han called the exploitation of psychic output under the neoliberal imperative of positivity psychopolitics. None of them names the scale of the individual body absorbing and expelling what a hospital, hydraulic, or racial system decided was its due. This exhibition proposes calling that operation metabolitics.

Maximiliano Ruelas closes the metabolic circuit where the skin itself becomes a political boundary. Fanon called the epidermization of inferiority the moment when the external gaze fixes a body on its surface, making it bearer of a burden it did not choose, the skin transformed into an involuntary uniform. Ruelas observes how the uniform of the domestic worker, the hotel employee, the security guard in Latin America, duplicates this process, a second institutional skin over the first racial mark, producing a body doubly fixed in its function. His aluminum print produces this body in real time, using the viewer's body as material, returning their own image just as they look at a body that is not there.Metabolitics makes evident that, without having agreed to do so, three distinct bodies documented the same political operation — the one that decides, before the body can decide anything at all, what it is meant to absorb and what it is meant to expel.


</description>
		
	</item>
		
		
	<item>
		<title>La Isla de la Tierra</title>
				
		<link>https://maximilianoruelas.com/La-Isla-de-la-Tierra</link>

		<pubDate>Wed, 07 Jun 2023 20:49:58 +0000</pubDate>

		<dc:creator>Maximiliano Ruelas</dc:creator>

		<guid isPermaLink="true">https://maximilianoruelas.com/La-Isla-de-la-Tierra</guid>

		<description>
La Isla de la Tierra

&#60;img width="3377" height="4970" width_o="3377" height_o="4970" data-src="https://freight.cargo.site/t/original/i/eb8a85abd125c08dceed0987f191b3696f5b9e3a95790963cce3e6f049a765e5/quersoneso-1.jpg" data-mid="234328034" border="0"  src="https://freight.cargo.site/w/1000/i/eb8a85abd125c08dceed0987f191b3696f5b9e3a95790963cce3e6f049a765e5/quersoneso-1.jpg" /&#62;

&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; A partir de La invención de América, de Edmundo O’Gorman, una conversación es establecida sobre las imposiciones semiótico-materiales que se encuentran en nuestro día a día. Desde la llegada de los españoles al neo-continente americano, las materialidades han cambiado y con ellas una redefinición de nuestro entendimiento hacia las mismas.

El látex, un material con una carga e historia colonial, desde Brasil hasta el Congo, es la pieza unificadora en las piezas. De esta manera, toma forma como una alusión a los palimpsestos hechos de piel de cordero, en los 􏰀ue se escribían y sobre escribían historias y conocimiento, hasta una representación de una segunda piel, la indumentaria. En esta serie, diversas siluetas de los primeros mapas que fueron creados del continente americano son reterritorializados e imaginados como nuevos mundos y frescos palimpsestos.

En ellos, el látex sirve como lienzo para reproducir alegorías de los siglos XVI y XVII de América. Estas alegorías, repletas de códigos visuales, contienen un lenguaje emblemático para comunicar, desde ideas colonizadoras, hasta expresiones grandilocuentes, siempre con imágenes femeninas ataviadas con referencias prehispánicas.


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Látex, tinta, aluminio, acero
188 x 196 x 170 x 178 cm


obra / 01I. Quersoneso áureo, o como el globo terrestre es una pera con una protuberancia como seno de mujer cuyo pezón está bajo la línea ecuatorial en el extremo oriental de la isla de la tierra
El mapa es una herramienta narrativa por excelencia. Más que una representación objetiva del territorio, un mapa es una herramienta que permite crear la realidad desde un punto de vista subjetivo y casi siempre con un fin específico. Y ese fin desde hace muchos siglos ha sido siempre a favor del estado, determinando así que un mapa nunca es neutral.

La conversación que tienen los mapas con las alegorías de América, cuentan una historia y aportan un punto de vista sobre un relato que ya existía. Al estudiarlos, queda claro que lo omitido en un mapa, todo lo que no se cuenta, constituye una parte fundamental de lo que representa.


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Fibra de vidrio, resina, látex, tinta 
140 x 72 x 54 cm

obra / 02II. Una entidad semiótico-material, o la piel como archivo andante de todas las cosas que se rigen en este juego de desterritorialización y reterritorialización&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Los textiles tuvieron un rol estratégico en la implementación de ideologías y el control cultural que se dio en la conquista de América. La identidad que se les dio a los nativos, de "salvajes emplumados" al verles portar plumas e ixtle, pasó a ser relegada por el algodón, que originalmente era reservado solo para la clase gobernante.

La seda y la lana tomaron después control de la producción, trayendo con ello problemas de tierra y alimento a los nativos. El látex toma la forma de estos materiales, imponiendo su carga sobre la silueta de una persona, un cuerpo que no está presente, que ya se ha ido.


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Látex, aluminio, acero, madera
175 x 35 cm


obra / 03
III. Malacate de hierro, o como después de que un eje vertical penetra la representación de la tierra, se producen varios giros y tras ellos, la preñez
Los malacates y husos fueron materiales fundamentales para la producción de textiles en el México precolombino. Los malacates tenían normalmente representaciones de Tlazoltéotl, la diosa de la vitalidad sexual femenina. De esta forma, el sistema de malacate y huso representaba el cosmos y una de sus manifestaciones fundamentales: la sexualidad fecundante.

Este sistema funge como soporte para una reproducción en látex de una prenda femenina española del siglo XVI. Al ser impuesta en la vestimenta de las mujeres para cubrir sus senos, creó una clara incongruencia entre lo que se quería cubrir, la vergüenza y el pudor, y lo que se exponía y resaltaba para el deleite masculino.&#38;nbsp;


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&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Building upon Edmundo O'Gorman's "The Invention of America," a conversation is established about the semiotic-material impositions that permeate our daily lives. Since the arrival of the Spanish in the Neo-American continent, materialities have evolved, leading to a redefinition of our understanding of them.

Latex, a material with a colonial history and significance spanning from Brazil to the Congo, serves as the unifying element in these pieces. It takes shape as an allusion to the palimpsests made of lambskin, on which stories and knowledge were written and overwritten, to a representation of a second skin, clothing. In this series, various silhouettes of the earliest maps created of the American continent are reterritorialized and imagined as new worlds and fresh palimpsests.

Within these artworks, latex serves as a canvas for reproducing allegories from the 16th and 17th centuries of America. These allegories, rich in visual codes, contain an emblematic language to convey everything from colonizing ideas to grandiloquent expressions, always featuring female figures adorned with pre-Hispanic references. 


1. A&#38;nbsp;map is a quintessential narrative tool. More than an objective representation of the territory, a map is a tool that allows the creation of reality from a subjective standpoint and almost always with a specific purpose. For many centuries, that purpose has always favored the state, thereby determining that a map is never neutral.

The conversation that maps have with the allegories of America tells a story and provides a perspective on an existing narrative. When studying them, it becomes evident that what is omitted on a map, everything that is left untold, constitutes a fundamental part of what it represents. 

2.&#38;nbsp;Textiles played a strategic role in the implementation of ideologies and cultural control during the conquest of America. The identity attributed to the natives, from "feathered savages" when they were seen wearing feathers and ixtle, transitioned to being defined by cotton, which was originally reserved solely for the ruling class.

Silk and wool later took control of production, bringing with them issues related to land and sustenance for the natives. Latex assumes the form of these materials, imposing its significance upon the silhouette of a person, a body that is no longer present, that has already departed. 

3. The spindle whorls and spindles were essential tools for textile production in pre-Columbian Mexico. Spindle whorls often had depictions of Tlazoltéotl, the goddess of female sexual vitality. In this way, the spindle and spindle whorl system represented the cosmos and one of its fundamental manifestations: fertilizing sexuality.

This system serves as a framework for a latex reproduction of a 16th-century Spanish female garment. When imposed on women's clothing to cover their breasts, it created a clear incongruity between what was intended to be concealed – shame and modesty – and what was exposed and emphasized for male pleasure.</description>
		
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